Parochial capital and the cork: Music scene

This chapter discusses the significance of place attachment for popular music producers in Cork city. The findings draw from extensive ethnographic research conducted in and on the Cork music scene between 2010 and 2013. The interpretation of these findings is informed by Bourdieu’s theory of social practice. Using his metaphor of “the game, " I discuss the significance of the local for the “players” who are engaged in music production in the city, which shapes power relations in the city’s music scene; how music producers gain entry and establish themselves; and how champions of the Cork music-making community gain position and status within the scene. Drawing on Tomaney’s (2013) conceptualization of parochialism as “care for one’s parish, " this analysis explores parochialism as a progressive ideology of belonging that shapes social relations within the Cork music scene and promotes collaborative social and music-making practices. I propose the term “parochial capital” as a method of highlighting the significance of territoriality with respect to power relations and social stratification in the local scene. Furthermore, I consider tensions between parochialism and cosmopolitanism for musicians seeking success beyond the local. Finally, I reflect briefly on the significance of parochialism with respect to urban and cultural/creative policy development, with particular attention to the collaborative and participatory ethos underpinning local music-makers’ activities in the city.